Guys and Dolls

In the precarious world of amateur theatre, relocating your home venue could be a gamble of crapshoot proportions. For Ballywillan Drama Group, the enforced move from the familiar Riverside Theatre to the vast, challenging space of the Coleraine Leisure Centre sports hall was a high-stakes bet. Yet, with their ambitious and modernised production of the classic Broadway fable Guys and Dolls, they didn’t just survive the move—they triumphed, proving that first-class musical theatre can flourish anywhere with vision, talent, and, as this show would have it, a little luck.

From the moment the audience entered, it was clear this was no ordinary revival. Directorially reimagined for a contemporary sensibility, this 1950s tale of gamblers and gospel-singers was thrust into a vibrant, bustling 21st-century New York. Entrances wove through the auditorium, populating the space with an eclectic modern metropolis: tourists, dancers, the Naked Cowboy, cheerleaders, and circus performers mingled with NYC cops and a lonesome Book Reader. This clever framing, supported by effective cinematic projections of Times Square and Broadway, immediately established a dynamic world where Nathan Detroit’s floating crap game could believably exist just around a digital corner.

The production values were very good, with no expense spared to conquer the new performance space. The clever use of multi-level staging enabled striking pictorial compositions, particularly during the male ensemble numbers where good hat angles ensured everyone could be seen. The Hot Box nightclub was transformed into a dazzle of neon light boxes in Act II, a brilliant modern touch, while theHavana scene erupted with spirited, enthusiastic dancing from the company. While occasional sightline issues arose (notably in Havana, leaving some audience members viewing backs of heads), the overall staging was inventive and assured. Props, from the well designed and crafted cocktails to an appropriately corrected mission hall sign, were perfectly in keeping with the fresh interpretation, though the absence of (cell) phones in one scene context offered a charming, deliberate nod to the show’s timeless, fable-like quality.

Musically, the foundations were solid. The orchestra, corralled stage right, provided a superb, balanced sound, over which some truly super harmonies soared. The principle cast delivered Loesser’s ingenious lyrics with palpable relish. Nathan Detroit (Alan McClarty) was a particular highlight, a wonderfully believable interpretation, nervy and charismatic, earning his moniker as “Good Old Reliable Nathan” through impeccable diction and comic timing. As his long-suffering fiancée, Miss Adelaide (Laura Fisher), brought infectious energy, though on occasion the rapid-fire comedy dialogue could have benefited from sharper linkage to physical action to maximise every laugh.

The romantic leads were powerfully matched. Sarah Brown (Clare Campbell) portrayed a beautiful contrast between the stern Sergeant of the Save-a-Soul Mission and the liberated, tipsy reveller in Havana. Her vocals were pure and poignant, especially in a tender “I’ll Know” with Sky. Speaking of Sky Masterson (Adam Goudy), he possessed a great voice, selling “Luck Be a Lady” matched with commanding tableaus by the ensemble, though a sharper focus on diction would have elevated his already strong performance further. The chemistry between Sky and Sarah Brown was palpable and well-emphasised.

Among the supporting roles, Nicely-Nicely Johnson (Patrick Connor) and Benny Southstreet (Steve Setterfield) formed a comedy duo par excellence, their timing and crystal-clear diction a masterclass in delivery. Arvide Abernathy (Harry Stinson) provided one of the show’s more tender moments with a beautifully sung, emotionally resonant “More I Cannot Wish You,” while General Cartwright (Una Culkin) was well cast, her arrival a comic delight. Big Jule (Stevie Black) loomed with appropriate menace, though, like the sturdy Lieutenant Brannigan (Paul Sleet), a consistent accent would have sealed the deal.

The ensemble, as ever with BDG, worked tirelessly, creating a living, breathing city. The dancers were well-drilled and handled the creative and effective choreography with infectious enthusiasm. While minor quibbles existed—the occasional abrupt lighting shift and leaving a principal in shadow up stage, or dancers’ hair styles lacking coordination—these were mere blips in an otherwise slick operation. The sound balance was excellent throughout, and the inventive use of an MC for the curtain call was a delightful final flourish.

Special mention must go to the show-stopping “Sit Down, You’re Rockin’ the Boat,” a number of pure, unadulterated joy by Nicely Nicely Johnston, and the brilliant partnership of Sarah and Adelaide in “Marry the Man Today,” which showcased comic timing and vocal blend.

Another fabulous touch was the entertainment at the interval. Ruby Fountaine (Megan Paul) was fabulous and her attire, make-up and hairstyling was perfect for the role.

Ballywillan Drama Group’s Guys and Dolls was more than a successful show; it was a statement. It declared that the spirit of community theatre is not bound by four walls but by the boundless creativity and commitment of its people. By boldly recontextualising a classic, embracing a new space with innovative design, and delivering performances brimming with heart and professionalism, BDG didn’t just roll the dice—they threw a natural. This was a triumphant, vibrant celebration of musical theatre, ensuring that the group’s future, wherever they may stage it, looks exceptionally bright.

 

The views in this report are solely of the author.

 

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